Polyphony in Sony Labou Tansi's novel
Contribution of pragmatics to the intelligence of a literary text
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Sony Labou Tansi's writing has sparked controversy of all kinds among critics. One of the subjects of discussion remains the formal apparatus of enunciation in this outstanding writer. A narratological study would be incapable of exhausting this question given the carnival character which characterizes this production. Indeed, who is speaking in the Sony novel? Is the "we" expressed there a monological or polyphonic instance? Because no statement can be unique or isolated, how are the different interacting voices articulated in this writing? These questions and many others like them have guide...
Sony Labou Tansi's writing has sparked controversy of all kinds among critics. One of the subjects of discussion remains the formal apparatus of enunciation in this outstanding writer. A narratological study would be incapable of exhausting this question given the carnival character which characterizes this production. Indeed, who is speaking in the Sony novel? Is the "we" expressed there a monological or polyphonic instance? Because no statement can be unique or isolated, how are the different interacting voices articulated in this writing? These questions and many others like them have guided our reflection. It spanned four chapters. Indeed after having presented the theory on polyphony, we successively studied the different aspects of this phenomenon before concluding to the multiplicity of voices and points of view which cross the texts of Sony. The title speeches as well as the statements which weave the texts under study are polyphonic. All forms of polyphony have been elucidated. Our study ended up establishing the carnival and polyphonic character of this writing.
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